After a fairly solid spell in cinemas, Thamma is edging closer to its digital outing. The vampire horror comedy ended up surprising the trade by crossing the ₹187 crore mark worldwide, and with its theatrical run winding down, attention has shifted to OTT. For a section of the audience-particularly those who chose to wait it out this was always the preferred way to watch the film.

The opening numbers were not extraordinary, but the film stayed afloat. In the current market, that consistency often counts more than a flashy start.

In theatres, curiosity worked in the film’s favour. Horror comedies are familiar enough, yet Thamma felt slightly removed from the usual template. Its setting and tone helped. As days passed, footfalls remained steady over weekends, and the sharp second-week drop that affects many releases never really came.

By the time collections began to taper off, the ₹187 crore figure was already in place. That performance naturally redirected focus towards what comes next.

Following standard industry timelines, the film is expected to reach streaming platforms around six weeks after its theatrical release. There has been no official word on the platform so far, but conversations with major OTT players are said to have begun early, once box office trends became clear.

The Thamma OTT Release is expected to be positioned as a key title rather than slipping quietly into a library. From a platform’s point of view, it fits the kind of content that viewers return to, especially over weekends. What helped the film was its restraint. The humour stays measured, and the horror never overwhelms the narrative. That balance allowed it to travel beyond a niche audience.

Ayushmann khurrana approaches the lead role with the kind of control audiences have seen across Ayushmann khurrana movies. He doesn’t chase laughs; instead, he lets situations play out. That choice proves effective, particularly when the story leans into its supernatural elements.

Rashmika mandanna matches that tone. Her character adds emotional stability without complicating the plot. Viewers familiar with Rashmika mandanna movies will likely notice her growing comfort with genre-based storytelling. Together, the pairing feels easy, something that cannot always be said for star-driven projects.

On streaming, the film could well find a broader audience. Horror comedies tend to work better at home, where viewing is relaxed and repeat watches are common. Thamma does not demand attention; it invites it.

Its visuals hold up on smaller screens, and the storytelling is not dependent on theatrical sound or scale. That makes it suitable for shared, family viewing-an area OTT platforms continue to prioritise.

The film’s performance also points to a shift in audience preferences. Viewers appear more open to genre films now, as long as they feel culturally grounded. Thamma leans on familiar cues instead of borrowing heavily from western horror, and that helps it stand apart. For producers, this matters. Films that show durability in theatres and then perform well on OTT tend to have a longer afterlife, and that model is gaining importance.

For The United Indian

Thamma’s move from cinemas to streaming reflects how Hindi films now operate across platforms. The box office may start the conversation, but OTT often keeps it going.

For readers of The United Indian, the film’s digital release underlines a larger shift-stories today travel slower, wider, and well beyond opening weekends.